George Enescu was possessed
of one of the greatest musical minds
in the history of the art. His abilities
were fourfold in that he was a world-class
violinist, pianist, conductor and composer.
Add to this his impressive roster of
famous students and his unanimous reputation
as one of the kindest and most generous
of mentors and one must only marvel
that this brilliant artist died in poverty
with only a bed and a chair to his name,
too proud to take money from any number
of willing colleagues and friends.

His musical prowess
was legendary. He had a photographic
memory, and performed such feats as
playing Ravel’s newly written violin
sonata from memory after only one reading.
He rehearsed and conducted Bartok’s
Music for Strings, Percussion and
Celeste at sight, and no lesser
pianist than Alfred Cortot marveled
that Enescu, a violinist, had a better
technique at the keyboard than Cortot
himself.

I have opined in these
virtual pages before that George Enescu
is one of the great-unsung compositional
talents of the last century, and these
splendid recordings played by a youthful
and talented Luiza Borac serve only
to strengthen my case. Avie, a newish
label on the scene, acquits itself very
well by presenting a beautifully recorded,
excellently annotated and packaged recording
that is certain to please any lover
of fine piano playing.

The opening work, the
suite in the style of the baroque dance
suite, would have made even so stern
a master as Sebastian Bach proud. Opening
with a lush grave we as soon
treated to a splendid three-voice fugue,
followed by a lyrical movement and a
gallant allegro ending, most reminiscent
of the final movement of Bach’s Italian
Concerto. Little is marked in the way
of either tempi or dynamics, but it
is evident from the harmonic devices
that some modern pedaling is needed
to carry off the long sustained bass
notes.

Suite number two is
more lush and lyrical and in a decidedly
more romantic style. It is melodically
fluid, and on the whole is a joyful
work, reflecting the happiness that
the composer experienced while in Paris.
The third suite is considerably more
complex, with markings so complicated,
frequent and meticulous that the performer
practically needs a glossary to interpret
them. The pianist comments in her fine
and detailed program note that she found
it as necessary to devote time to studying
the markings as she did practicing the
notes.

Luiza Borac is a fine
pianist indeed, and although still young
in her career, turns in very well crafted
and sincere performances. The intricate
counterpoint of the opening baroque
style suite is certainly not lost on
her, and she is able to interpret a
romantic piece with the kind of baroque
sense of style that makes this tribute
to past masters work. In the more romantic
second suite, she plays with a rich
tone and brings out the lovely melodies
and inner harmonies with great style
and finesse. The immensely virtuosic
final suite receives a spectacular performance.
Ms. Borac has technique to burn and
an obvious passion for this music of
her native land.

Sound quality is terrific
and the notes are well written and interesting.
This disc gives further cause to champion
the music of this remarkable musician.
Highly recommended.

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